WORLD OBSERVED. LIFE ILLUSTRATED.


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Analysis of South Asia and the wider world from an Indian vantage. Each piece pairs a minimalist pen-and-ink illustration with long-form writing, the drawing arguing alongside the essay rather than decorating it.


Essays that begin with something lived rather than something reported.

A rescue, a rain, a death, a small act of greed witnessed up close — and the wider argument that opens out from it. Personal in origin, never merely personal in scope.


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A nation and a society confronting itself: press freedom, language politics, civic collapse, the anniversaries we mark and what they conceal.

These are essays about India in the middle of deciding what it is — written from Bengaluru, reported outward, and drawn as much as they are argued.


Pen, ink, and charcoal without an argument to make.

Portraits, flowers, quiet studies of light — drawing done for its own sake rather than in service of an essay. This is where the line goes when it isn’t carrying a thesis, and where the hand behind the editorial work shows itself plainly.

Hand-drawn charcoal portrait of a smiling elderly man with deeply lined wrinkles symbolizing experience, resilience, and a lifetime of stories.
Realistic soft pastel drawing of an autumn leaf with red, orange, and yellow tones, hand-rendered on a white background to capture the texture and colors of a fallen leaf.
Digital vector drawing of a Parijatha flower created in Inkscape beside its photographic reference image, showing white petals and an orange center against textured ground.

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